Paolo CIRIO's monograph, 2019.
THIS MONOGRAPH FEATURES PAOLO CIRIO’S CONCEPTS, MODELS, AND INTERVENTIONS UTILIZING THE FLOWCHART AS ARTISTIC MEDIUM. CIRIO’S WORK CHALLENGES AND INVESTIGATES THE ECONOMICS, POLITICS, TECHNOLOGY, AND SEMIOTICS OF THE GLOBAL INFORMATION ORDER. THIS SURVEY FEATURES THE ARTIST’S USE OF FLOWCHARTS AS A VISUAL STRATEGY FOR SOPHISTICATED APPARATUSES, IDEAS, AND ACTIONS. CIRIO’S RESEARCH, INTERVENTIONISM, ACTIVISM, AND INTELLECTUAL ENGAGEMENT ARE PRESENTED IN INSTALLATIONS AND ARTIFACTS BOTH IN DIALOGUE WITH THE LEGACY OF CONCEPTUAL ART AND THE ADVANCEMENT OF CONTEMPORARY ART.
Foundations; Meaning; Sociality; Daily Paywall; Global Direct; Art Commodities; World Currency; Loophole for All; Gift Finance - P2P Gift Credit Cards; Hacking Monopolism Trilogy; Face to Facebook; Amazon Noir; Google Will Eat Itself; Open Society Structures; and early sketches.
I discuss the politics, aesthetics, and philosophy of networks, data, and algorithms, yet these artworks inevitably dig into the very mechanics of financial vehicles, intellectual property, political science, privacy policies, semantic studies, and art itself. These are the subsystems I utilize through a range of strategies, including performance, hacking, documentary, institutional critique, utopia, social innovation, and appropriation. Consequently, the nature of the material, subjects, and tactics I implement makes these artworks actively engaged in discussing the opportunities and oppressions within contemporary society. Either with simple provocations or recontextualization, or with sophisticated interventionist, participatory, or speculative models, my artworks have an agenda that I strategize when I program the flow of information, operations, and interactions between my targets, audiences, and myself. Information flows within and around society always have a degree of social and cultural impact; as such, my works often embody agency that extends from mere representation. They create and inspire change, reaction, and inquiry through proactive, subversive, and informative art. These artworks are social agents probing and interacting with the subject matters and their systems. I believe that the advancement in art through my work is the programmable reality I can insert into a particular network and the extensive reach such action can have today. Toward this end, I chart, create, and execute operational and functional systems meant to produce outcomes for social constructivism or critique. Society became my material while the flowcharts of conceptual models and algorithms became my medium. With a lifelong pursuit of advancing modes of conceptual art, my work has been dedicated to exploring an aesthetics of social complexity, discussing and modelling the paradigms of the information order forming society and social knowledge.
The Flowchart The flowchart is the meta-medium for an aesthetics of social complexity. The diagrammatic drawing becomes the essential visual form for seeing and engaging with the flow of information and operations in today’s interconnected world. In art, the flowchart is a dynamic image that can convey practice and theory for functions and meanings of concepts and actions. The language of the flowchart serves the artist to convey processes and connections of ideas and interventions within increasingly entangled networks of interrelated social structures. It gives form to the circulations, processes, and arrangements of social, technical, and intellectual flows involving works of art. The picture of the flowchart sidesteps the visual conventions of figuration and abstraction; the flowchart is operational, informational, and conceptual. The satisfying visual aesthetic of the flowchart derives from the artist’s ideas propelled in the geometric sketching of the flows of concepts, means, functions, and commands that the artist creates, elucidates, and researches. The flowchart is a conceptual image as well as an image itself with its own form. Visually, the flowchart circumnavigates the pictorial image, becoming the relevant iconographic imagery of the information age. As a genre of visual language, the flowchart enters into the rubric of artistic strategies and mediums, furthering the development of art-making. Art as creation of input-output exchange; interconnected nodes, channeling and switching conditions, functions, rules, and interactions are outlined to reach a determined outcome. The flowchart is not a map, it does not illustrate a set space or field. Rather, it’s the representation of the flow being processed, computed, and directed for the preposition, action, and method meant to produce specific goals.